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Improvisation: Liturgical

I’m really happy with this one! There’s a moment at the end where I tack an extra coda, but it worked out well. Especially since I changed the tonality of the chant from phrygian to Major (much like Bach did for O Sacred Head). What I particularly like about this improv is that it bridges the aspects of the Psalm 89 (88) which reads:

My faithfulness and mercy will be with him;
through my name his horn will be exalted.

I wasn’t particularly ‘horning’ a theme, but the rather adding another layer. That’s what the swell with the celeste and viole do. Add to that the particular chant mode and I think it turns into something profound. Or at least, I like to think it does. Enjoy!

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Improvisation: Liturgical

Today’s improvisation, from earlier this afternoon, is based on the chant for Communion with a text from Matthew 13:45 and 46. Simply put, the verses describe the kingdom as a pearl of great price. I was trying to capture those two particular images, the Kingdom of God and a pearl, juxtaposed by earth. It’s always fun to try and capture an idea and put it into musical form. One quick note about the improvisation: I wasn’t expecting things to go on longer and there’s a point where you can tell that I just said to myself, “Well, I gotta keep things going!” Those moments are always fun moments to have.

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Improvisation: Liturgical

Much of the study of improvisation follows a simple idea: imitate the masters.  Today’s improvisation is an attempt at an improvisation like a Vierne Scherzo.  I like the use of scherzos and other fast paced pieces during communion processions because I don’t think of them as always being reflective; but more often, they should be joyous, maybe even in a rambunctious way.  It’s a solid improvisation, though I certainly could have use another 5 minutes to the paltry 2 or so that I had, thus the abrupt ending.  Though,when one is given lemons, make lemon pie (that’s what my Mom says after all!).

UPDATE: I just realized that this post is identical to another post recently. I have no idea how they got mixed up, but I like this improvisation, so I’m happy to share it twice!

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Composition: Sacred Choral

On the same day as my last post, my church choir had spent much time learning something that I consider a little more difficult than my average piece.  Originally, Panis Quem Ego was written for the Duquesne organ department choir for one of the chapel Masses that we do.  I didn’t record the original performance, but the piece is a little more tricky than  what my choir is use to.  But they learned it well and sang it well.

There is one mistake (well, there are several, but I’m only going to point out one).  At the end of the piece, the word “vita” is sung.  One of my sopranos accidentally added an “s” to the end of it.  There are a few other blurbs, but I really like this piece and this recoding is pretty solid otherwise.  Someone once pointed out the Duruflé influence; I will ALWAYS take that as a compliment.  In the realm of mistakes one can make on a Sunday, this is not the worst, so I present to you a piece well sung, but not perfect.

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Improvisation: Liturgical

I cut loose a little today.  There is sometimes (or self imposed, as is my case) difference between concert improvisations and liturgical improvisations.  Generally speaking, I reserve more traditional forms and styles for the liturgy, but today I went for a slightly freeform postlude based on the chant Lauda Zion.  It was the last Sunday the choir sang and I figured it was time for a bang.  A small bang at least.

I can certainly go more tonally crazy than this, but this is a liturgical improv on Pittsburgh’s South Side.  One doesn’t need to go full France-1960 and I’ll leave it at that.  There’s a bit of noise in the background, but hey, it is a postlude.  Enjoy!

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Improvisation: Liturgical

Now that I’m done teaching for the semester and the choir season has ended, Ive had a bit more time to do things like, well, post on this blog!  Another example of catching up, I’ve updated the list of compositions.  It’s rather huge – I apparently hadn’t looked at it recently.  I had a chance to catalogue it all and get it edited and ready for public consumption.

Today’s improvisation is an attempt, emphasis on attempt, to do something more in the style of Vierne.  One of the fun aspects of improvisation is trying to mimic those you admire most.  It, in turn, also has an affect on my compositions as I learn about new things I like to hear and incorporate.  The one thing that is missing, is a chromatic sequence of some kind.  Maybe next time!

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Improvisation: Concert

For some reason, New Child + Easter + End of Semester = I have no time ever.  That being said, I haven’t stopped improvising or recording.  In fact, I’m posting an improvisation from Holy Week that I was particularly happy with.  This particular performance was the last on that particular Teller and won’t be back until the Summer of 2015.  It was recorded from the center of the church, but unfortunately I couldn’t find the file.  Thankfully, I recorded it with my camera!  Though the sound quality isn’t as nice as I would like it, the improv is nicely captured.

ImprovAgony – Full Score

The improvisation is based around three ideas preconceived by myself for this performance.  I tried to program the ideas of Agony, Blood, and Will (as in decision or choice) into musical ideas and the outcome is always interesting.  You will here each idea in the form of the piece as it’s built in three parts with the three ideas.

On a side note, HAPPY EASTER SEASON!  The Agony in the Garden is one of my favorite stories and makes the Easter Season all the more real because of its humanity.  This summer should prove a more prodigious summer than the last, especially in regards to composition.

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Composition: Sacred Choral

On the Friday before Lent begins, the Passionists celebrate a feast particular to their order called the Solemn Commemoration of Passion.  Since they can’t make Good Friday their order feast day, they celebrate it early.  As it is only found in the Passionist community, it is a truly unique celebration.  That being said, I thought it appropriate to share one of the pieces I composed based on the letters of St. Paul of the Cross.  In fact, it was the first piece I wrote at the Monastery!  The words to this choral work are:

O Divine Goodness, engage us in devotion;  answer our time of need; as the Spirit inspires our hearts and minds: O Divine Goodness, hear us as we pray.

Kneel at the Cross, in the sacred silence, let God’s graces rain in abundance.

O Divine Goodness, come to us as incense; that we might be compassion and charity; let the Spirit inspire our hearts and minds: O Divine Goodness, hear as we pray.

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Improvisation: Liturgical

Today is the Feast of Seven Founders of the Order of Servants of the Blessed Virgin Mary.  Quite a name for a feast.  I had this idea to end one improvisation, the offertory, and continue it during the communion.  I’ve used this before but it doesn’t always work with the various chants or hymns.  Today it worked!  Or at least, I like to think so.

On another note, someone approached me after mass and said that he thought that a phone was ringing at the beginning of the offertory.  That was until he said that he realized that it was the organ.  We both found that pretty funny.  Enjoy!

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Improvisation: Liturgical

Happy New Year!  I’ve clearly haven’t posted anything in a while and that may seem a shame.  Really, I missed ALL of Christmas!  But that’s not the whole story: I did record a number of improvs, but I didn’t feel that they were good enough.  And the improvs that were good enough, I didn’t have the camera going.  Ah well.

Today, I had the camera rolling for the Novena Masses at the Monastery.  These two improvs are both relatively short as things go during daily Masses.  But I feel they compliment each other well, which is why they’re both there.  Enjoy!